Michael Haydn wrote the Missa pro defuncto Archiepiscopo Sigismondo, or more generally Missa pro Defunctis, Klafsky I:8, MH 155, following the death of the Count Archbishop Sigismund von Schrattenbach in Salzburg in December 1771. Haydn completed the Requiem before the year was over, signing it "S[oli] D[eo] H[onor] et G[loria.] Salisburgi 31 Dicembre 1771." At the beginning of that year, his daughter Aloisia Josefa[1] died. Historians believe "his own personal bereavement" motivated the composition.[2] Contemporary materials which have survived to the present day include the autograph score found in Berlin, a set of copied parts with many corrections in Haydn's hand in Salzburg and another set at the Esterházy castle in Eisenstadt, and a score prepared by the Salzburg copyist Nikolaus Lang found in Munich.[3]
The mass is scored for the vocal soloists and mixed choir, two bassoons,[4] four trumpets in C, three trombones, timpani and strings with basso continuo.
StructureEdit
The composition is structured in the following five parts:
"Quam olim Abrahae" Vivace e più Allegro, G minor, cut time
Sanctus Andante, C minor, 3/4
"Benedictus qui venit..." Allegretto, E-flat major, 3/4
Agnus Dei et Communio
"Agnus Dei, qui tollis peccata mundi" Adagio con moto, C minor, common time
"Cum sanctis tuis" Allegretto, C minor, cut time
"Requiem aeternam" Adagio, C minor, common time
"Cum sanctis tuis" Allegretto, C minor, cut time
TempoEdit
Sherman recommends a tempo relation in which "in Agnus Dei et Communio, the of both Agnus Dei and Requiem aeternam equals of the fugue Cum sanctis tuis."[5] Sherman also recommends interpreting the Andante maestoso of the Dies Irae at "a pulse of = MM. 104."[6]Leopold Mozart instructs "that the staccato indicates a lifting of the bow from the string" with no accent implied.[7]
Influence in Mozart's RequiemEdit
Both Leopold and his son Wolfgang Amadeus Mozart were present at the first three performances of Haydn's Requiem in January 1772,[8][9] and Wolfgang was influenced in the writing of his own Requiem in D minor, K. 626.[10] In fact, Michael Haydn's Requiem is "an important model for Mozart" and strongly suggests that Franz Xaver Süssmayr's completion of Mozart's way does not depart "in any way from Mozart's plans."[11] Pauly notes specific parallels between the two requiems: rhythmic similarities in the setting of the Introit, Quantus tremor and Confutatis maledictis sections, the use of a plainchant melody in the setting of Te decet hymnus, and the subject of the fugue in Quam olim.[12]
NotesEdit
^Max Kenyon, Mozart in Salzburg: A Study and Guide. New York: G. P. Putnam's Sons: 154. "Haydn's second child, so quickly baptized on the day she was born, was named Josepha : had Michael his great brother in mind ?"
^p. [i] (1969) Sherman. Though the score says "Fagotto," in the preface Sherman writes: "Two bassoons are necessary to reinforce the basses at the octave."
^p. 65, Wolff (1998) Christoph. Berkeley, California Mozart's Requiem: historical and analytical studies, documents, score University of California Press
^Pauly, Reinhard G. (1971). "Review of Missa Sanctu Hieronymi [per] soli, coro misto ed orchestra di fiati con organo continuo; Missa pro Defunctis [per] soli, coro misto ed orchestra con organo continuo, Michael Haydn, Charles Sherman". Notes. 27 (4): 786–787. doi:10.2307/895889. JSTOR 895889. ProQuest 1296696339, 740681994.
ReferencesEdit
Heartz (1995) Daniel. New York. Haydn, Mozart, and the Viennese School: 1740 — 1780 W. W. Norton & Co.
Sherman (1969) Charles. Mainz Foreword to Missa pro Defunctis Universal Edition
Wolff (1998) Christoph. Berkeley, California Mozart's Requiem: Historical and Analytical Studies, Documents, Score University of California Press
requiem, michael, haydn, michael, haydn, wrote, missa, defuncto, archiepiscopo, sigismondo, more, generally, missa, defunctis, klafsky, following, death, count, archbishop, sigismund, schrattenbach, salzburg, december, 1771, haydn, completed, requiem, before, . Michael Haydn wrote the Missa pro defuncto Archiepiscopo Sigismondo or more generally Missa pro Defunctis Klafsky I 8 MH 155 following the death of the Count Archbishop Sigismund von Schrattenbach in Salzburg in December 1771 Haydn completed the Requiem before the year was over signing it S oli D eo H onor et G loria Salisburgi 31 Dicembre 1771 At the beginning of that year his daughter Aloisia Josefa 1 died Historians believe his own personal bereavement motivated the composition 2 Contemporary materials which have survived to the present day include the autograph score found in Berlin a set of copied parts with many corrections in Haydn s hand in Salzburg and another set at the Esterhazy castle in Eisenstadt and a score prepared by the Salzburg copyist Nikolaus Lang found in Munich 3 Requiemby Michael HaydnThe composerFull titleMissa pro defuncto Archiepiscopo SigismondoKeyC minorCatalogueKlafsky I 8 MH 155OccasionRequiem of Sigismund von SchrattenbachTextRequiemLanguageLatinComposed1771 1771 VocalSATB choir and soloistsInstrumentalbrass and timpanistringscontinuo Contents 1 Instrumentation 2 Structure 3 Tempo 4 Influence in Mozart s Requiem 5 Notes 6 ReferencesInstrumentation Edit nbsp First page of M Haydn s RequiemThe mass is scored for the vocal soloists and mixed choir two bassoons 4 four trumpets in C three trombones timpani and strings with basso continuo Structure EditThe composition is structured in the following five parts Requiem aeternam Adagio C minor common time Sequentia Dies irae Andante maestoso C minor 3 4 Offertorium Domine Jesu Christe Rex gloriae Andante moderato G minor common time Quam olim Abrahae Vivace G minor cut time Hostias et preces Andante G minor common time Quam olim Abrahae Vivace e piu Allegro G minor cut time Sanctus Andante C minor 3 4 Benedictus qui venit Allegretto E flat major 3 4 Agnus Dei et Communio Agnus Dei qui tollis peccata mundi Adagio con moto C minor common time Cum sanctis tuis Allegretto C minor cut time Requiem aeternam Adagio C minor common time Cum sanctis tuis Allegretto C minor cut timeTempo EditSherman recommends a tempo relation in which in Agnus Dei et Communio the nbsp of both Agnus Dei and Requiem aeternam equals nbsp of the fugue Cum sanctis tuis 5 Sherman also recommends interpreting the Andante maestoso of the Dies Irae at a pulse of nbsp MM 104 6 Leopold Mozart instructs that the staccato indicates a lifting of the bow from the string with no accent implied 7 Influence in Mozart s Requiem EditBoth Leopold and his son Wolfgang Amadeus Mozart were present at the first three performances of Haydn s Requiem in January 1772 8 9 and Wolfgang was influenced in the writing of his own Requiem in D minor K 626 10 In fact Michael Haydn s Requiem is an important model for Mozart and strongly suggests that Franz Xaver Sussmayr s completion of Mozart s way does not depart in any way from Mozart s plans 11 Pauly notes specific parallels between the two requiems rhythmic similarities in the setting of the Introit Quantus tremor and Confutatis maledictis sections the use of a plainchant melody in the setting of Te decet hymnus and the subject of the fugue in Quam olim 12 Notes Edit Max Kenyon Mozart in Salzburg A Study and Guide New York G P Putnam s Sons 154 Haydn s second child so quickly baptized on the day she was born was named Josepha had Michael his great brother in mind p i 1969 Sherman p ii 1969 Sherman p i 1969 Sherman Though the score says Fagotto in the preface Sherman writes Two bassoons are necessary to reinforce the basses at the octave p ii 1969 Sherman p ii 1969 Sherman p ii 1969 Sherman p 537 1995 Heartz p 65 Wolff 1998 Christoph Berkeley California Mozart s Requiem historical and analytical studies documents score University of California Press p 538 1995 Heartz p 70 1998 Wolff Pauly Reinhard G 1971 Review of Missa Sanctu Hieronymi per soli coro misto ed orchestra di fiati con organo continuo Missa pro Defunctis per soli coro misto ed orchestra con organo continuo Michael Haydn Charles Sherman Notes 27 4 786 787 doi 10 2307 895889 JSTOR 895889 ProQuest 1296696339 740681994 References EditHeartz 1995 Daniel New York Haydn Mozart and the Viennese School 1740 1780 W W Norton amp Co Sherman 1969 Charles Mainz Foreword to Missa pro Defunctis Universal Edition Wolff 1998 Christoph Berkeley California Mozart s Requiem Historical and Analytical Studies Documents Score University of California Press Portals nbsp Classical music nbsp Music Retrieved from https en wikipedia org w index php title Requiem Michael Haydn amp oldid 1169414006, wikipedia, wiki, book, books, library,
